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Classical - Released August 7, 2020 | audite Musikproduktion

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The complete Mozart works for string trio in a new recording with the Jacques Thibaud String Trio: alongside the well-known Divertimento, K. 563. Chamber music of the highest order, features rich harmonies, elaborately crafted contrapuntal textures and great technical challenges. The Preludes and Fugues are unique documents of Mozart's study of Bach's oeuvre. They contain three fugues from The Well-Tempered Clavier, one fugue each from The Art of Fugue and an Organ Sonata, as well as one fugue by Wilhelm Friedemann Bach. Four of the Preludes are probably Mozart's own, whilst two are from Bach's Trio Sonatas for organ. Mozart produced his arrangements for private Sunday gatherings at the home of Baron van Swieten, where he would play the viola part. Mozart's study of the old masters would prove an important influence on his later compositions. The six-movement Divertimento, K. 563, of 1788 is considered as the string trio par excellence. It is chamber music of the highest order, with rich harmonies and elaborately crafted counterpoint. Here, Mozart makes greater technical demands on the performers than in his Violin Concertos or his Sinfonia concertante, K. 364, for violin, viola and orchestra. In his three-part writing, Mozart reaches astonishing depths, with double stops at times imitating the sound of a quartet. All three string instruments are treated completely equally, each in turn taking the lead; the viola and cello are given especially rewarding melodic lines. This magnificent work condenses the entire potential of string trio playing into a 50-minute late Mozartian experience. © Audite
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Classical - Released July 10, 2020 | audite Musikproduktion

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Classical - Released May 29, 2020 | audite Musikproduktion

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Classical - Released May 8, 2020 | audite Musikproduktion

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The second album by Franziska Pietsch and her Spanish piano partner Josu De Solaun is dedicated to the multifaceted world of French violin sonatas. With their usual aplomb and artistic intensity, the duo explore emotional landscapes complementing those of their previous album. Moving on from the exuberant revelry, serious tragedy and brutal reality of the sonatas by Strauss and Shostakovich, the musicians are now roving between the poles of dream and reality. Real experiences and emotions are reflected in a visionary dream world, external reality is mirrored internally. Inner emotions and images become reality via the music, triggering new emotions: dream and reality mirror each other. Fauré, Debussy, Ravel and Poulenc create this mirror world in diverse ways. The common theme is the fantastical, the magic of imagination, the poetic distance to reality and the intensive engagement with inner emotions. Thus the dream world becomes a retreat for listeners and artists alike. © Audite
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Classical - Released February 7, 2020 | audite Musikproduktion

Hi-Res Booklet Distinctions Diapason d'or
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Classical - Released October 4, 2019 | audite Musikproduktion

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Johann Bernhard Bach's four Orchestral Suites, composed for the court orchestra of the cultured duke of Saxony-Eisenach, are amongst the most varied and sophisticated musical works of the high baroque period in Middle Germany. It was not by chance that Georg Philipp Telemann, a one-time Kapellmeister at Eisenach, commented retrospectively: "I have to praise this orchestra, arranged for the most part according to the French style, for it surpassed the very famous Parisian opera orchestra". From 1703, Bernard Bach was engaged as harpsichordist in this noble orchestra. His Orchestral Suites provide the only surviving "soundtrack" of the illustrious musical life at the Eisenach court during the 1710s and 20s. And what a soundtrack: cosmopolitan, and truly European, with sparkling virtuosic brilliance, as if written by a fiery Italian, whilst displaying the elegant taste of a noble Frenchman. In other words, the "mixed taste", for which the best German composers of the late baroque period were famous, in its finest form. Little wonder then that Bernhard Bach's suites became core repertoire for Johann Sebastian Bach's Leipzig Collegium Musicum, also influencing his compositions. All this provides sufficient motivation for the Thuringian Bach Collegium to continue their exploration through the Middle German courts for their second recording and, with unbridled enthusiasm in their music-making, to bring these jewels of the early Thuringian orchestral music back to life. Bon Appétit! © Audite
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Classical - Released September 6, 2019 | audite Musikproduktion

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The Trio Lirico has programmed three composers who lived and worked on the Eastern side of the Iron Curtain until 1989: for Franziska Pietsch and Sophia Reuter this is music which - paraphrasing Goethe - they "search with their souls". "As children, we both lived in East Berlin and were close friends already", Franziska Pietsch explains about her violist colleague. "We therefore share personal history, a similar style of playing and a similar non-verbal way of communicating about this music. We just feel it". This personal form of perception, into which the Bremen cellist Johannes Krebs blends empathetically, is not irrelevant for this music which becomes accessible not just via the text but also to a high degree via the cultural and political environment in which it was written. Of course Krzysztof Penderecki (b.1933), following the political liberalisation of Polish music from 1956, had the opportunity to tie in with avant-garde developments in the West and to create his very own and unique modernism. On the other hand, his generational colleague Alfred Schnittke (1934-1998) and the older Mieczysław Weinberg (1919-1996) had, until the end of the Soviet Union, to assert their music in the face of massive harassment from the authorities which, in Weinberg's case, went as far as being arrested for anti-Semitic reasons. Born in Warsaw, Weinberg, who fled to the Soviet Union during the Second World War, kept in close contact with his friend and mentor Dmitri Shostakovich. Nonetheless, Weinberg's music is entirely unique, and his string trio of 1950 strikes a balance between popular tunes and references to Yiddish music. Alfred Schnittke, who found it hard gaining acceptance on account of his (Volga) German and Jewish heritage, composed his trio in 1985 for the birthday of his illustrious colleague Alban Berg - and, shortly after completing the work, suffered a life-threatening stroke, retrospectively lending this work a tragic note. The most recent work recorded here is by Poland's most eminent living composer, Krzysztof Penderecki: in 1991 he wrote his string trio as a great improvisation for three performers with a strict and wild fugue. © Audite
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Classical - Released September 6, 2019 | audite Musikproduktion

Hi-Res Booklet Distinctions Diapason d'or
The grace and natural charm of her iridescent, silvery soprano voice was inescapable: Edith Mathis shaped the Mozart sound of her time. But her performances of the Bach passions, Haydn oratorios, as Ännchen in Weber’s Der Freischütz or as Sophie in Strauss’ Der Rosenkavalier were met with equal enthusiasm. She also set the benchmark as a song recitalist, including in the summer of 1975 in her home city of Lucerne. © Audite
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Classical - Released July 5, 2019 | audite Musikproduktion

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Chamber Music - Released May 3, 2019 | audite Musikproduktion

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After forays to Spain and France, the Cheng2 Duo ventures to Russia for their third audite album. The "Süddeutsche Zeitung" described Bryan and Silvie Cheng's last CD, dedicated to Spanish music, as an "event of austere and severe, but also dreamy beauty", and praised the siblings' interpretation for "finding the correct idiom which manages to raise the temperature". Their new double album centres on the three great sonatas for cello and piano by Dmitri Shostakovich, Sergei Rachmaninov and Sergei Prokofiev. The Cheng2 Duo contrasts these with a series of shorter pieces by Anton Arensky, Piotr Ilyich Tchaikovsky and Alexander Glazunov. This comprehensive programme represents a short history of Russian cello music which began with the foundation of the great music conservatoires in Saint Petersburg and Moscow in the middle of the nineteenth century. Cellist Bryan Cheng is hailed internationally for his "absolutely astonishing" (La Presse, Montréal) command of the cello, and "abundant facility, innate musicality, and sense of joy" (New York Concert Review). He made his solo debut at age 10 with the Orchestre de chambre I Musici de Montréal, his Carnegie Hall recital debut at 14, and most recently, his Elbphilharmonie solo debut with the Deutsche Kammerphilharmonie Bremen and conductor Joshua Weilerstein in 2018. Lauded for her "extraordinarily varied palette" (WholeNote Magazine) and "purely magical" playing (New York Concert Review), pianist Silvie Cheng illuminates musical works with her exquisite touch at the keyboard. Since her Carnegie Hall solo debut in 2011, she has performed as both soloist and collaborative pianist across the globe. As guest soloist with orchestra, Silvie most recently made her debut with the New Amsterdam Symphony Orchestra in 2018 and will debut with Symphony Nova Scotia in the 2019-20 season. © Audite
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Classical - Released April 5, 2019 | audite Musikproduktion

Hi-Res Booklet Distinctions Diapason d'or
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Classical - Released March 8, 2019 | audite Musikproduktion

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As a reflection of the rise of a young 23-year-old musician with a bright future, Richard Strauss’ Violin Sonata in E-flat major, Op. 18 dates back to 1887-1888. As a protégé of Hans von Bülow who saw in him the great musician of the future, the young man made his debut as a conductor, an activity he would combine with composing throughout his life. Strauss studied the piano and the violin; here, he uses them both to purely expressive ends, dismissing any vain attempt at virtuosity. The writing is lyrical above all else, as evidenced by the harmonic and melodic turns that clearly prefigure his later lyrical works’ expression and convoluted melisma. Shostakovich’s Sonata for Violin and Piano in G major, Op. 134 is the complete antithesis of Strauss’. Composed in 1968 as a 60th-birthday present for great violinist David Oistrakh, it is the work of a sick composer, partially paralysed and suffering from lung cancer due to smoking. Accused of “formalism” and taxed as “enemy of the people” by Soviet leaders, Shostakovich wrote a painful, austere piece, the implacable and tragic confession of his own sadness. Born in the GDR in 1969, violinist Franziska Pietsch studied in Germany, then at the Juilliard School in New York before perfecting her craft with Ruggiero Ricci and Zakhar Bron. Her partner, Spanish pianist Josu de Solaun, has won several international prizes (Valencia, New York, Prague, Bucharest) and performs all around the world. © François Hudry/Qobuz
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Classical - Released January 11, 2019 | audite Musikproduktion

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Editor's Choice
Invaluable sound documents from one of the greatest pianists of the twentieth century. The third and final volume of the Berlin radio recordings by Cuban-born American pianist Jorge Bolet on audite presents repertoire novelties. With the exception of the Fledermaus paraphrase, all recordings are released for the first time. Once again, Bolet's performances document his universality and unceasing inquisitiveness, as well as his phenomenal musicianship and ability to adapt his virtuosity to diverse works. These recordings are therefore invaluable documents of a musician who today is justly considered one of the greatest pianists of the twentieth century. This selection comprises works of Beethoven, Chopin, Debussy, Dello Joio, Franck, Godowsky, Grieg, Liszt and Schumann. Beethoven's Fifth Piano Concerto did not form part of Bolet's regular repertoire: it is the only live recording on this edition. Further highlights include Schumann's Third Piano Sonata as well as major works by Chopin, such as the complete Op. 25 Études, in Bolet's masterful, lyrical interpretations. As an "encore", Bolet plays Godowsky's Concert Paraphrase of Strauss' Die Fledermaus. © Audite
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Classical - Released November 2, 2018 | audite Musikproduktion

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
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Classical - Released October 5, 2018 | audite Musikproduktion

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Classical - Released September 7, 2018 | audite Musikproduktion

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A dialogue between historical and contemporary composers. Luciano Berio's references to Scarlatti and Jörg Widmann's homage to Schubert are contrasted by Andrea Lucchesini with original works of the two earlier composers, weaving both original and reference into a new whole. Prominent modern-day composers cultivate a relationship with historical compositional styles, bringing to light innovations and divergences as well as a continuation of and indebtedness to the past. Berio and Widmann are both closely involved with this new recording: Lucchesini and Berio enjoyed a close personal relationship during the composer's lifetime, while Jörg Widmann wrote a text for the new production and is also connected to Andrea Lucchesini. Andrea Lucchesini is one of the leading Italian pianists of our day. His triumph at the Dino Ciani International Competition at a young age marked the beginning of his international concert career. He has since performed all over the world with leading orchestras under renowned conductors as well as in solo recitals. His primary interest lies in contemporary music. Berio's Echoing Curves was premiered by Lucchesini, and he was also involved in the composition of the Sonata, Berio's last work for solo piano. Since 1990 the pianist has increasingly devoted himself to chamber music as well, performing in many different instrumental combinations and particularly in close collaboration with the cellist Mario Brunello and the Quartetto di Cremona. © Audite
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Classical - Released September 7, 2018 | audite Musikproduktion

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Classical - Released July 6, 2018 | audite Musikproduktion

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Chamber Music - Released May 4, 2018 | audite Musikproduktion

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It’s not a typo: the duo is indeed called Cheng² Duo, in other words Duo Cheng squared. It makes sense considering the cellist is named Bryan Cheng, and the pianist Silvie (again, not a typo!) Cheng – yes, they are siblings. Despite what their last name may suggest, the Chengs are in fact from Canada and made their debuts as soloists with the country’s best orchestras before going on a world tour to pursue their now international career. The family cooperation, as a duo, led them to the present Iberian repertoire, made up almost exclusively of rewritings of works for piano, vocals and orchestra: only Turina’s Danzas fantásticas is performed in its original version for piano solo, and Cassadó’s Suite for cello solo… on cello solo, one could have guessed! What an incredible energy these two bring to the table! Some arrangements are in fact the work of big names such as Maurice Gendron, Cassadó or Piatigorsky. The Spain of Cheng² is packed with fire and flames – who could resist the Song of Wildfire, and of tenderness, of El amor brujo −, Falla’s Siete canciones populares españolas (Seven Spanish Folksongs) are a wonderful achievement. Here is a strong and beautiful album, presenting – with perfect conviction – well-known works but in new formats, thus shining a new musical light onto them. © SM/Qobuz
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Classical - Released March 2, 2018 | audite Musikproduktion

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The Cavaillé-Coll organ in the cathedral of Saint-Omer is testament to the skill and talent of its famous constructor. The instrument's sonic aesthetics naturally combine refinement and opulence. The organ is thus an ideal medium to convey the musical and sonic transformations presented by this recording: Shostakovich's string quartet movement, piano pieces by Prokofiev and Rachmaninov as well as orchestral works by Rimsky-Korsakov and Tchaikovsky are all expanded by the transcriptions which bring out surprising sounds and details of the original works, creating new and unique listening experiences. Sophie Rétaux is titular organist of the Aristide Cavaillé-Coll organ of the Cathédrale Notre-Dame de Saint-Omer (France). To promote this exceptional instrument, she began transcribing major works of the chamber music and symphonic repertoire from the post-romantic and modern periods for her instrument. Several Prizes at international organ competitions launched her concert career in France and abroad. An avid chamber musician, she performs as frequently on the piano as she does on the organ, as well as on the harpsichord and the fortepiano. © Audite

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